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As ’80s and ’90s Rise in Classic Rock, What’s the Future of ’60s and ’70s?

Mike Stern
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As ’80s and ’90s Rise in Classic Rock, What’s the Future of ’60s and ’70s?

If you are reading this, you probably know the story: as the Classic Rock and Hits formats have attempted to continue appealing to the vaunted 25-54-year-old demo and not fall over the dreaded demographic cliff, music from the eighties has become central to the format, and the nineties are starting to push their way to greater prominence.

That does, however, leave us with a critical issue: what role should music from the seventies and even the late sixties play in the format? How do we manage some of the artists and songs that, once upon a time, were the biggest in the format?

There is not a clear-cut answer to this question, and to muddy the waters further, here are three interesting, possibly conflicting, stories that might impact your opinion on the matter.

1) 1,000 Weeks

According to a recent Billboard article, Pink Floyd’s iconic album The Dark Side of the Moon is approaching a milestone: 1,000 weeks on the Billboard Hot 200. The January 10 chart was the album’s 996th non-consecutive week. That means, barring anything unexpected, on the chart dated February 7, the album should hit 1,000 weeks.

Bob Marley’s Legend: The Best of Bob Marley and the Wailers and Journey’s Greatest Hits are second and third, with 920 and 890 weeks, respectively. All three were off the chart from 1991 through the end of 2009, when “catalog” albums were not allowed to chart, only current and recently released albums. For reference, that period represents another 936 weeks that Pink Floyd could have been padding their statistics.

The article notes that the revival and consistent chart success of older albums is partially due to streaming activity, which was mixed into the chart methodology starting in 2014. Consistent listening to classic albums like The Dark Side of the Moon plays a large role in keeping the album on the chart.

2) More Than a Billion

Speaking of the impact of streaming, in a story on the Far Out website, Lauren Hunter wrote about which Classic Rock songs have surpassed the one billion stream mark. She points out that “Here Comes the Sun” is the only Beatles song in Spotify’s Billions Club.

At first glance, that seems surprising, but when Hunter notes that the Classic Rock artist with the most songs past the billion mark is Queen, with five titles in the club, it all starts to fall into place. The catalyst is likely the 2018 biopic Bohemian Rhapsody, which exposed Queen to a younger audience.

After the movie hit, she says, over seventy percent of Queen’s streaming play came from people under the age of thirty-five, illustrating how that audience, and their taste, can clearly drive future consumption of Classic Rock.

3) 50 Years Old

Unbelievably, that’s how old Sean Ono Lennon is. I know that’s how time works, but it’s still hard for me to conceptualize that he has turned the big five zero. Even more difficult to imagine is that he believes it’s possible future generations could completely lose touch with the music of The Beatles and the impact the band had.

In an interview with CBS Sunday Morning, Ono Lennon talks about being a custodian of his dad’s legacy and explains that something he once thought was impossible — people forgetting about The Beatles — now seems plausible.

The interview also talks about a short film Ono Lennon set to his parents’ classic “Happy Xmas (War Is Over),” which won an Oscar award last year, and a new documentary on HBO called One to One, which chronicles the benefit show John and Yoko headlined in 1972 at Madison Square Garden.

While both of Ono Lennon’s recent projects are wonderful, a short film and an HBO documentary seem unlikely to capture the imagination of younger listeners the way the Queen biopic did.

Which leaves us with the same question this post started with: what, if anything, do we as Classic Rock and Hits stations owe to the legacy of the artists that launched the format?

For my part, I think finding ways to package and pay tribute to this music, while keeping stations in their lane and primarily playing the hits people are asking for, is the true artistry of programming in these formats. But then again, maybe all the nights I spent listening to Abbey Road and The Dark Side of the Moon just leave me wistful for a time that has passed.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Tony Dokoupil Has Already Failed His Promise to Make CBS Evening News More ‘Transparent’ and ‘Accountable’ Than Walter Cronkite

Garrett Searight
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Tony Dokoupil Has Already Failed His Promise to Make CBS Evening News More ‘Transparent’ and ‘Accountable’ Than Walter Cronkite

Tony Dokoupil began his run atop the CBS Evening News with a sweeping declaration. Before his first broadcast, Tony Dokoupil promised, “I can promise you we’ll be more accountable and more transparent than Walter Cronkite or anyone else of his era.”

That is a bold place to plant a flag, especially in a role so steeped in legacy.

It is also, to be fair, a noble goal. Every television journalist should strive for maximum accountability and transparency, whenever those ideals can reasonably apply. Viewers deserve clarity about how stories are gathered, edited, and presented. Anchors should welcome scrutiny rather than fear it.

After three weeks in the chair, though, Dokoupil’s tenure has already been uneven. A few on-air flubs have circulated online. Certain statements have drawn criticism that feels louder than the offense itself. In several cases, the pushback has struck me as unfair.

Part of that is context. Dokoupil is operating under an intense magnifying glass. CBS News, now under the direction of Bari Weiss, is being watched for any hint of philosophical drift. Every word feels litigated in real time.

That atmosphere makes mistakes seem bigger than they are. It also shortens the grace period most new anchors typically enjoy. Learning curves are allowed in theory, but rarely in practice.

Still, the controversy that erupted over the weekend cannot be dismissed. It also cannot be spun away as a misunderstanding or a bad-faith attack. The audio speaks for itself.

Hearing White House Press Secretary Karoline Leavitt say that the CBS Evening News needed to air its interview with President Donald Trump in full or they would “sue your ass off” is jarring. It is troubling on multiple levels.

The first issue is the confidence with which that threat was delivered. A major news organization should not sound like a legal hostage. The fact that Karolien Leavitt feels emboldened enough to tell a major news organization how it will — not should — present the news is a major statement on the current state of our country and the news media.

The second issue is more damaging. CBS News did exactly what the White House demanded.

The network insists the decision to air the interview unedited was made before any agreement with the President. That explanation may be accurate. It may even be defensible. Unfortunately, optics matter in television news as much as intent.

For someone who promised to be more transparent and more accountable than Walter Cronkite, this is a brutal early test. When a White House official is heard making a demand, and the outcome aligns perfectly with that demand, reasonable people draw reasonable conclusions.

Those conclusions don’t speak highly of CBS News, Bari Weiss, or Tony Dokoupil. At a time when they need all the goodwill they can get.

Can an anchor reasonably look into the camera after that and claim full independence? Can he assure viewers that no outside pressure influenced editorial decisions? And can he say the only constituency that mattered was the audience at home?

I do not think that answer is yes. It is not because Dokoupil lacks integrity. It is because perception has already undercut the promise.

This is not a career-ending moment. It is not even a scandal on the scale cable news thrives on. But it is a credibility hit, and those accumulate faster than they heal.

The irony here is painful. Dokoupil invited this scrutiny by invoking Walter Cronkite. He set the bar at an almost unreachable height. Once you do that, every stumble feels like a fall from a greater distance.

There is also a broader issue worth naming. Modern network news does not operate in Cronkite’s world. Legal threats are louder. Political pressure is more aggressive. Corporate caution is omnipresent. Transparency now is harder, not easier, to deliver.

That reality does not excuse what happened. It does explain why the promise was always unrealistic. Accountability is not just about what you say. It is about what you resist.

CBS News may believe it acted responsibly. Dokoupil may feel he kept his hands clean. Viewers, however, are left with an uncomfortable tape and an unanswered question.

Trust is gained in drops and lost in buckets. Three weeks is not enough time to define a tenure. It is, however, enough time to establish a pattern.

I did not expect to have a definitive answer about Dokoupil’s grand promise this soon. Yet here we are, less than a month in, with a moment that cuts directly against it.

That does not mean Tony Dokoupil cannot recover. It doesn’t mean the honeymoon is over or that his tenure leading the CBS Evening News is doomed. Accountability, it turns out, is not something you declare. It is something you prove, night after night, especially when saying no is the harder choice.

I’m interested to see how — or perhaps, if? — Dokoupil takes accountability or offers transparency for what transpired last week. That can go a long way with gaining some of those drops of trust back with viewers. Because it appears, from where I sit, that CBS Evening News might have kicked over that proverbial bucket before it even had enough trust to cover the bottom of said bucket.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

ESPN Adds Bill Belichick to ACC Network Coverage of College Football Playoff National Championship Game

BSM Staff
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ESPN Adds Bill Belichick to ACC Network Coverage of College Football Playoff National Championship Game

The ACC Network will offer extensive on-site programming surrounding the College Football Playoff National Championship in Miami, Fla., from January 17–19, with special contributions from NFL coaching legend Bill Belichick. The network’s coverage will spotlight the Miami Hurricanes as they compete for the national title while providing fans with unparalleled access to coaches, players, and behind-the-scenes insights.

Belichick will appear as a guest analyst on ACC Huddle, sharing his perspective on championship preparation, game strategy, and postseason execution. His commentary will complement ACC Network’s regular analysts throughout the weekend. This provides a unique blend of professional and collegiate experience.

Coverage begins Saturday morning at 9 a.m. ET with ACC Huddle: Miami Media Day, delivering behind-the-scenes access from the official CFP Media Day at the Miami Beach Convention Center.

Taylor Tannebaum will anchor the broadcast from Hard Rock Stadium alongside analysts Jimbo Fisher and Eddie Royal. Eric Mac Lain, Andrea Adelson, and David Hale will report live from Media Day. They will bring interviews with players and coaches directly to viewers..

Sunday’s programming includes the Head Coaches News Conference, featuring Miami’s Mario Cristobal and Indiana’s Curt Cignetti previewing the matchup. That evening, ACC Huddle: Championship Preview airs at 8 p.m. Tannebaum will work alongside Mac Lain, Royal, and Fisher to break down all facets of the Hurricanes-Hoosiers game.

A special edition of the ACC Network Football Podcast, hosted by former Florida State quarterback EJ Manuel and Georgia Tech captain Roddy Jones, follows at 9 p.m.

Gameday Monday brings more than seven consecutive hours of live coverage from Hard Rock Stadium.

Programming kicks off at 5 p.m. with Inside ACCess at the National Championship, featuring ACC insiders Adelson and Hale. ACC Huddle at the National Championship follows at 6 p.m., offering over 90 minutes of pregame analysis. Tannebaum will host alongside Mac Lain, Royal, Fisher, and Belichick. They will be joined by ACC Network personalities Kelsey Riggs Cuff, Tom Luginbill, and College Football Hall of Famer Mark Richt.

During the game, Field Pass with ACC Huddle will provide sideline commentary and real-time reactions. This continues the network’s tradition of an ACC-focused alternate viewing experience. Halftime analysis will be delivered by Cuff, Luginbill, and Richt.

Belichick’s addition to ESPN’s coverage follows the first-year head coach finishing 4-8 in his debut season at North Carolina.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Which Entertainment Industry Makes The Most Money In 2026? Casinos vs Movies, TV, Music, And Gaming

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Which Entertainment Industry Makes The Most Money In 2026? Casinos vs Movies, TV, Music, And Gaming

Everyone argues or two to share about which entertainment industry makes the most money. But most people argue with the wrong scoreboard. Movies chase hits. Streaming chases subscribers. Music lives in the catalog and repeat listens. Casinos and games monetize sessions.

So let’s use the correct definition of lucrative first. Then, we’ll use hard numbers to rank the industries.

Casinos And iGaming: The Cashflow Monster

A casino can print cash on a high-traffic weekend, while a streaming service can bleed money for years chasing subscribers. A game studio can look “small,” too. Right up until one live-service hit turns into a multi-year money engine.

If you want a clean way to think about why casinos stay near the top, start with how users browse Spin Palace sister sites. Action is where revenue starts, but repetition is where the model becomes a machine. People come back in sessions. In the case of Spin Palace, alternatives compete on concrete levers that directly impact return visits. Think game catalog depth, bonus structure, and how easy it is to move money in and out. Availability and verification also vary depending on licensing and jurisdiction, which is another reason users look at multiple options rather than treating one brand as the default.

If you’re measuring “lucrative” by direct revenue, commercial casino gaming is one of the biggest checks in entertainment, especially in the U.S. The American Gaming Association reported that U.S. commercial gaming revenue hit $71.92 billion in 2024, the fourth straight record year. That total blends traditional casino revenue with sportsbook and iGaming results where legal.

Why casinos stay near the top, year after year:

  • Money is the mechanic. The product is built around fast feedback and repeat play.
  • High-frequency spending. It’s not one ticket, one album, one season. It’s session-based.
  • Margins can be thick. Especially on slots, where the math and scale do the heavy lifting.

The catch is that casinos make a lot of money, but that money is affected by laws, geography, and how much it costs to attract new customers. Still, if you ask what is “most profitable,” industries that depend on repeat visits, like casinos and live-service games, usually do better than ones that depend on one-time events, like buying a movie ticket.

Video Games: The Biggest “Time Spent” Industry That Converts Into Dollars

Games are the entertainment category that wins on time spent and increasingly wins on money spent.

In the U.S. alone, the Entertainment Software Association said consumer spending on video games totaled $58.7 billion in 2024. That includes content, hardware, and accessories. Moreover, that’s a huge number for an industry that also monetizes globally at scale.

The reasons why games are “lucrative” in a way movies and music often aren’t are:

  • The purchase doesn’t have to end. Live-service games keep earning after launch.
  • Monetization has layers. Full game → battle pass → cosmetics → expansions → subscriptions.
  • Global reach is built in. A hit doesn’t need theaters or radio to scale.

If you’re trying to answer who wins overall, games usually belong in the final two. Every time.

Movies: Big Peaks, But The Theatrical Number Isn’t The Whole Business

Movies look gigantic when a franchise hits. Then they look fragile when the slate is weak. That’s the nature of a release-driven business.

Globally, the box office has been climbing back toward pre-pandemic levels, but it’s still volatile. Industry trackers have put the global box office in the low-to-mid $30B range in recent years (with forecasts and revisions depending on slate strength and exchange rates).

The key point for the most lucrative debate is that the box office is not the whole movie industry. Studios also monetize through PVOD, licensing, and streaming deals. That’s why the “movies vs. games” comparison can be misleading. Theatrical is one revenue stream inside a larger IP machine.

What movies do uniquely well is turning a single title into a multi-channel asset. Think sequels, merch, theme park tie-ins, and long-tail licensing. But if you’re judging the industry on steady annual revenue, theatrical is lumpy by design. Even Disney has reported an entertainment revenue decline in 2025 and they are loaded with popular movies.

TV And Streaming: Massive Reach, But Profitability Is Uneven

TV is still a money factory, but the model is in transition. Cable affiliate fees used to be a cheat code. Streaming traded that stability for scale. And churn.

Streaming can be a huge revenue. It can also be expensive. The reason is simple. Subscriptions are recurring, but so are content costs.

A clean way to show how real that revenue is (without guessing) is to look at company reporting and the way media conglomerates talk about their direct-to-consumer numbers. Paramount’s streaming strategy is a good example of how hard the economics are being pushed.

Where streaming wins:

  • Recurring revenue at scale (when churn is controlled)
  • Global distribution without theaters
  • Bundling and price increases once a platform becomes a habit

Where it loses:

  • Content spending races
  • Subscriber acquisition costs
  • Profitability that can lag for years

So TV/streaming can be the most lucrative for the winners. As an industry-wide answer, it depends on who you’re talking about.

Music: Smaller Than People Think, But Extremely Durable

Recorded music revenue is not the biggest pile on this list. What it is is consistent, global, and increasingly subscription-driven.

IFPI reported the global recorded music market was worth $28.6 billion in 2023. That’s up 10.2% year over year, driven largely by paid streaming.

Why music stays lucrative even when the topline is smaller than casinos/games:

  • Songs have long tails (catalog monetization is real)
  • Streaming makes revenue recurring
  • Licensing spreads music into film, TV, games, ads, and socials

Music rarely wins on raw annual revenue versus casinos or games. But it competes on longevity and global repeat listening.

So, Which Entertainment Industry Is The Most Lucrative?

If “most lucrative” means bringing in the most money directly every year in the U.S., then $71.92 billion in 2024 from commercial casino gaming makes it a strong case.

Video games are right up there with the most lucrative if you want to talk about broad consumer spending and the best way to make money off of time spent. In 2024, U.S. consumers will spend $58.7B on them, and the business model is set up to make money off of them over time.

Music’s growth through subscriptions keeps it in the running, even though its global topline in 2023 was only $28.6B, if “most lucrative” means most long-term repeat consumption.

The clearest answer is that casinos and games make the most money because they’re based on repeat visits and habits. Sure, films and TV can make money, but they depend on hits and cost a lot. The music industry is smaller, but it’s the most consistent and plays forever.

The New York Times to Expand ‘The Daily’ to 7 Days Per Week

BNM Staff
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The New York Times to Expand ‘The Daily’ to 7 Days Per Week

The success of The Daily — the podcast from The New York Times — has led the organization to expand the show to seven days per week.

Beginning on Sunday, the podcast will now release an episode on that day, completing the expansion to each day of the week. Previously, the podcast released six episodes per week, with Sunday being the lone day without a release.

“Sunday will be a time to lean back and listen to stories and conversations that surprise, delight or help us understand this moment,” Deputy Managing Editor Sam Dolnick, Director of Audio Paula Szuchman, and The Daily‘s Executive Producer Ben Calhoun said in a joint statement.

Michael Barbaro, Natalie Kitroeff, and Rachel Abrams will continue to host the program on its new edition. Wendy Dorr, one of the executive producers of The Daily, will lead the Sunday edition.

The outlet says it will experiment with the edition, looking at its format and content as the program progresses.

The Daily is one of the most popular podcasts — regardless of genre — in the country. In the latest rankings from Podtrac, it was the second most-listened-to show in the United States.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

ChatGPT to Start Testing Ads on Free and Lower-Priced Subscriptions

BNM Staff
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ChatGPT to Start Testing Ads on Free and Lower-Priced Subscriptions

ChatGPT is getting into the advertising game. The company has announced plans to start testing ads for free and it’s Go tier subscribers.

In a statement on Friday, the company shared that it is planning on testing ads in the coming weeks “so more people can benefit from our tools with fewer usage limits or without having to pay.”

“We’re not launching ads yet, but we do plan to start testing in the coming weeks for logged-in adults in the U.S. on the free and Go tiers,” the company said. “To start, we plan to test ads at the bottom of answers in ChatGPT when there’s a relevant sponsored product or service based on your current conversation.

“Ads will be clearly labeled and separated from the organic answer,” it continued. “You’ll be able to learn more about why you’re seeing that ad, or dismiss any ad and tell us why. During our test, we will not show ads in accounts where the user tells us or we predict that they are under 18, and ads are not eligible to appear near sensitive or regulated topics like health, mental health or politics.”

The company said it will remain open to feedback and that its long-term focus “remains on building products that millions of people and businesses find valuable enough to pay for.”

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Local Radio and TV Account for Nearly 2.5 Million Jobs and $1.2 Trillion in U.S. Economy, NAB Study Shows

BNM Staff
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Local Radio and TV Account for Nearly 2.5 Million Jobs and $1.2 Trillion in U.S. Economy, NAB Study Shows

The National Association of Broadcasters has spent years making its case on Capitol Hill — from defending AM radio’s place in vehicles to pushing back against a proposed performance royalty. Now, the organization is adding economic data to its policy arguments with a new study measuring the financial impact of local radio and television.

The report, conducted by Woods & Poole Economics, Inc. with support from BIA Advisory Services, finds that local broadcasting generates $1.19 trillion in U.S. Gross Domestic Product and supports 2.46 million jobs nationwide. According to NAB President and CEO Curtis LeGeyt, the findings underscore broadcasting’s unique value.

“No other industry gives more to Americans for free,” LeGeyt says. “This report reinforces that broadcasters are not only essential to our democracy and daily lives, but to the strength of our economy, as well.”

Local commercial radio accounts for a sizable share of that impact. The study estimates radio contributes $437 billion in annual economic output and supports more than 909,000 jobs across the country. Those jobs include both direct employment inside radio stations and indirect positions created through radio’s broader economic ripple effect — reaching industries such as construction, manufacturing, retail, and transportation.

Breaking down the numbers further, Woods & Poole attributes $19.8 billion to direct radio activity, including station operations, programming, and advertising-related jobs. Supplier industries add another $47.8 billion. The largest portion — nearly $370 billion — comes from radio’s stimulative effect on the wider economy, driven primarily by advertising that delivers price and product information to consumers at no cost.

That advertising function is identified as radio’s most powerful economic contribution. By efficiently distributing marketplace information, radio advertising improves consumer spending efficiency and encourages competition among businesses. The report estimates that dynamic alone supports more than 506,000 additional jobs nationwide.

State-level data highlights radio’s broad geographic reach. California leads with more than $51.4 billion in radio-driven economic activity and over 100,000 related jobs. Texas follows at $38.9 billion and more than 78,000 jobs. New York ($31.5 billion), Florida ($26.2 billion), and Illinois ($19.7 billion) also post significant totals, while Ohio accounts for nearly $20.9 billion in output and roughly 44,000 jobs.

Mid-sized and smaller states show strong per-capita influence, reflecting radio’s deep local roots. Woods & Poole projects stable radio revenue through at least 2028, concluding that radio’s economic contributions are likely to grow alongside the broader economy.

“Broadcasting is more than a business model; it is a civic model,” LeGeyt says. “This industry stands alone in its mission to inform, protect and uplift every community in America, regardless of ZIP code or income level.”

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NBCuniversal Teams With AMC Theatres for Milan-Cortina 2026 Winter Olympics Viewing

BSM Staff
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NBCuniversal Teams With AMC Theatres for Milan-Cortina 2026 Winter Olympics Viewing

NBCUniversal is once again turning movie theaters into Olympic viewing destinations, announcing plans to significantly expand live daytime coverage of the Milan Cortina 2026 Winter Olympics across AMC Theatres locations nationwide.

The company revealed that more than 150 AMC theaters will offer ticketed access to select live daytime Olympic broadcasts from NBC between February 6-22. The initiative builds on a similar effort during the Paris 2024 Summer Olympics. About 110 AMC locations participated then. That effort helped introduce a communal viewing option beyond traditional home screens.

Beginning February 6, the same day as the Opening Ceremony, fans can gather inside participating AMC theaters. They will watch live Olympic competition unfold in real time from northern Italy.

NBCUniversal said the programming is expected to feature marquee Winter Games events, including figure skating, skiing, snowboarding, hockey and speed skating, presented with a cinematic experience designed to heighten the drama and emotion of the Games.

The expanded rollout reflects NBCUniversal’s continued push to extend Olympic coverage beyond linear television and streaming, while also giving AMC another opportunity to position its theaters as live event venues. The companies hope the large-screen setting and shared atmosphere will appeal to both casual viewers and devoted Olympic fans looking for a different way to experience the Games.

Tickets for the live Olympic screenings will be available starting January 23 through theater box offices and Fandango.

NBCUniversal’s return to theaters follows positive results from its Paris Olympics experiment, which demonstrated demand for live sports content in a theatrical environment. The Milan Cortina expansion represents a notable increase in scale, with more than 40 additional locations added compared to the 2024 effort.

The 2026 Winter Olympics will feature events staged across multiple regions in northern Italy, with Milan and Cortina serving as primary hosts. It will mark the second time Cortina has hosted the Winter Games, following the 1956 Olympics, and the fourth time Italy has hosted an Olympic Games overall. The most recent Winter Olympics held in Italy took place in Turin in 2006.

NBC and Peacock will serve as NBCUniversal’s primary platforms for comprehensive coverage of the Milan Cortina Games, which are scheduled for February 6-22, 2026. The Paralympic Winter Games will follow from March 6-15, 2026.

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KIRO Newsradio 97.3 FM News Anchor Heather Bosch Exits

BNM Staff
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KIRO Newsradio 97.3 FM News Anchor Heather Bosch Exits

After more than seven years at KIRO Newsradio 97.3 FM, anchor Heather Bosch has announced that she has departed the Bonneville International Seattle news/talk station.

In a post on social media, Bosch shared that her contract wouldn’t be renewed by the organization.

“After decades as a successful broadcast journalist, the local radio station I worked for declined to renew my contract,” Bosch wrote. “They did provide a lovely cardboard box for me to put my most recent awards in, and my news director was kind enough to fetch my coat. ‘Realocating resources,’ I was told. They will not be backfilling my position.”

Heather Bosch re-joined KIRO Newsradio 97.3 FM in 2018. She had previously worked at the station from 1999 to 2011, before departing for CBS News Radio as an anchor/reporter role based in New York City. She has also worked as a freelance anchor for NPR.

Additionally, Bosch rejoined CBS News Radio as an anchor in 2024, working in a fill-in capacity. She has shared that she will continue in that role in spite of her exit from KIRO.

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Kimo Jensen Announces Retirement From 103.7 KSON

BMM Staff
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Kimo Jensen Announces Retirement From 103.7 KSON

103.7 KSON San Diego will soon close a significant chapter in its on-air history as longtime afternoon host Kimo Jensen prepares to step away from the microphone after more than three decades at the station.

Jensen, widely known to listeners as “the Smilin’ Hawaiian,” announced he will retire in mid-June and relocate to Italy with his wife, Shannon.

The decision brings an end to one of the longest-running and most recognizable tenures in the San Diego radio market, particularly within the country format.

The station confirmed the news on KSON’s morning show, where he reflected on a career that spanned multiple eras of radio and several ownership changes. While Jensen’s exit marks the end of his daily afternoon presence, KSON plans to celebrate his legacy in a big way.

On March 19, the station will host “Kimo’s Kegger,” a farewell concert event at The Sound in Del Mar. Country artist Rodney Atkins will headline the show, which is expected to draw longtime listeners and industry colleagues who have followed Jensen’s career over the years.

The event serves as both a sendoff and a thank-you to a host who helped shape KSON’s sound and community presence for decades.

Jensen’s relationship with KSON began in 1989, when he first joined the station and worked there through 1991. After leaving San Diego for a brief period, he returned to the market in the mid-1990s following a stint in mornings at Z90. That return would prove to be permanent, as Jensen went on to become a fixture in KSON’s afternoon daypart.

As Jensen prepares for his next chapter overseas, KSON listeners will have several more months to hear a familiar voice that has accompanied countless commutes, life milestones, and country hits along the way.

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